Cine libanés: ¿exorcismo o memoria?
- Autores: Ibrahim Al-Ariss
- Localización: Archivos de la filmoteca: revista de estudios históricos sobre la imagen, ISSN 0214-6606, Nº 44, 2003, págs. 42-53
- Idioma: español
- Títulos paralelos:
- Lebanese Cinema: Exorcism or Memory?
- Enlaces
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Resumen
The recent history of Lebanese cinema has been marked by war. This paper studies the development of Lebanese Cinema and how it has been marked by its special focus on war. With the exception of Maroun Bagdadi, the first generation of Lebanese filmmakers was made up of activists still too close to the war to take an interest in renewing their cinematographic language. With the work of P. Al-Yundi, O. Nakkash, Habchi and Codsi, the mid- nineteen nineties were witness to a transition period in which a new generation of filmmakers showed a greater interest than their predecessors in the development of cinematographic language. It was, however, the Beirut film festival “Self-image, Other-image” which brought to light a whole new generation of directors more influenced by the consequences of war (memory of the war and exile, self-identity, “the other”) than by war itself, and whose work is focused less on militancy and more on art.
